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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Dunwoodie Chant Conference • Review of a Successful Event

Fr. David Friel · March 15, 2017

AST WEEKEND, I participated in a wonderful conference at St. Joseph’s Seminary (Dunwoodie) in Yonkers, New York. Entitled “Gregorian Chant in Pastoral Ministry and Religious Education,” the event attracted 140 sacred music enthusiasts to share two days attending thoughtful lectures and engaging in beautiful liturgies.

I met several new friends and learned many new things in these two rich days, and, perhaps most importantly, I was renewed in spirit for a future filled with hope for liturgical music. Here are just a few highlights.

First, the opening keynote was memorable for both its speaker and its content. Msgr. Robert Skeris has made extraordinary lifetime contributions to the field of sacred music, and his reflections at the opening of the conference explored the theological underpinnings of the Church’s liturgical music. Equally good was the keynote address of Rev. Christopher Smith, who spoke about the role of Catholic schools in providing sound liturgical formation. Fr. Smith shared a treasure trove of best practices filled with practical usefulness and catechetical insightfulness. Forming children well, of course, is essential for renewing the practice of sacred music in the Church.

Secondly, one of the unique features of this conference is that Mass on the first day was offered in Spanish. This is not something I have experienced at other similar liturgical conferences, but the choice to celebrate Mass in Spanish reflects great sensitivity to a very real pastoral need in the realm of sacred music. Quality Spanish-language resources for truly sacred music are minimal, but this Mass demonstrated ably the heights that are possible. Music for the occasion was supplied by the St. Joseph Seminary Schola Cantorum, who are to be commended for their achievement.

Thirdly, and related to the second point, I was encouraged by the overwhelmingly pastoral and outward-reaching tenor of this conference. Such an event could easily become a chance for “chantheads” to close in on themselves. Instead, this conference was a gathering of dedicated musicians keen to learn more about chant and eager to discover ways of improving the quality of sacred music in their particular situations. Over and over again, I heard music directors, pastors, presenters, and seminarians use the phrase “in my parish,” evidence that these proceedings were grounded in lived reality. This is good news, because the movement toward better sacred music is one that will only be accomplished parish by parish, at the grassroots level. Theory is necessary, and it had its place in this conference; but practical direction is equally indispensable, and it was abundant throughout these days at Dunwoodie.

Finally, one of the highlights of these days for me was hearing the Mueller Family Schola lead the whole assembly in chanting Lauds. Led by fellow-blogger Chris Mueller and his wife, this family of five specializes in chant and polyphony and has toured in Poland, Italy, and the United States. Perhaps the greatest part of that celebration of Lauds was the lesson, which was chanted clearly, confidently, and beautifully by the Mueller’s 8-year-old son. That brief, chanted lesson proved to me again that children are better nourished with truly sacred music than with sentimental sacro-pop.

It was my pleasure to present a paper entitled, “Is Beauty Subjective? Establishing Criteria for Beauty.” This study began with a philosophical consideration on the objectivity/subjectivity of beauty, proceeded with the identification of several criteria for beauty, and concluded with the application of these criteria to Gregorian chant in order to show how chant is an exemplar of beauty.

Following is just one brief excerpt from my research:

So, is beauty objective or subjective? The foregoing philosophic exploration supports the contention that beauty has a fundamentally objective basis. However intuitive beauty may be, it remains primarily intellectual. Understood properly in this way, beauty is objective and can be judged by reason, such that the mind can even discern the criteria of beauty. It remains true, of course, that one’s perception of beauty is subjective; this element of subjectivity might well be called “taste.” One’s tastes, however, cannot disregard the objective criteria of beauty without devolving into the irrational. For this reason, it is important that we form others—indeed, that we form ourselves!—to be able to recognize the qualities of authentic artistry. The ability to perceive the beautiful and to recognize it as such is, in part, a natural ability of the human person. This capacity can be cultivated, though, through education and training. The varied ability of persons to appreciate beauty often accounts for the situation in which a particular thing appears beautiful to some people but not to others. The richer one’s formation in beauty, the more prepared one becomes to perceive the splendidness of intelligible forms and to delight in their beauty.

Although a publication of conference proceedings is not planned, many of the presentations will appear as articles in forthcoming issues of Sacred Music. I highly encourage anyone interested in liturgy and its music to consider subscribing to this important and accessible journal.

Congratulations to Dr. Jennifer Donelson and the Archdiocese of New York for organizing this tremendous event. It is to be hoped that this conference will bear much fruit in the ongoing work of the attendees!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Beauty, Catholic Youth Choirs, Children at Mass, Dunwoodie Chant Conference, Gregorian Chant, Simple Steps To Improve Parish Music Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“At the hour for the Divine Office, | as soon as the signal is heard, | let them abandon whatever they may have in hand | and hasten with the greatest speed, | yet with seriousness, so that there is no excuse for levity. | Let nothing be preferred to the sacred liturgy.”

— Rule of St. Benedict (Chapter 43)

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